Content analysis of quick sampler functionality in logic pro x: an investigative study of configuration features
(1) * Royys Bagja Rizky Satya Mail (Universitas Pendidikan Indonesia, Indonesia)
(2) Yudi Sukmayadi Mail (Universitas Pendidikan Indonesia, Indonesia)
(3) Lanang Riyadi Mail (Universitas Negeri Medan, Indonesia)
*corresponding author

Abstract


This study investigates the configuration and functional capabilities of the Quick Sampler feature within Logic Pro X, focusing on its application in audio sample processing for music composition. Utilizing a qualitative content analysis approach based on Krippendorff’s methodology, the research systematically examines key components of Quick Sampler, including Synth Mode, Mod Matrix, and Mapping Section, to evaluate their roles in enhancing workflow efficiency and creative flexibility. Data were gathered from direct interface analysis, supported by documentation and user experience reports. The findings reveal that Quick Sampler’s intuitive drag-and-drop interface combined with flexible sample modes simplifies the sampling process, while the Mod Matrix facilitates complex modulation routing that expands sound design possibilities. Although the study is descriptive and qualitative, it highlights Quick Sampler’s potential to streamline compositional processes within digital audio workstations. Future research is recommended to quantitatively measure user efficiency and to compare Quick Sampler’s performance with other DAWs, as well as to explore its optimization for specific music genres.

Keywords


Quick Sampler; Logic Pro; DAW; Configuration; Audio

   

DOI

https://doi.org/10.31763/viperarts.v7i1.1726 		      

Article metrics

10.31763/viperarts.v7i1.1726 Abstract views : 28

   

Cite

How to cite item
   

References


[1] Q. Fu, “Research on the Use of Computer Music in Modern Musical Composition,” J Phys Conf Ser, vol. 1820, no. 1, p. 012153, Mar. 2021, doi: 10.1088/1742-6596/1820/1/012153.

[2] M. Müller, Fundamentals of Music Processing. Cham: Springer International Publishing, 2015. doi: 10.1007/978-3-319-21945-5.

[3] A. Reuter, “Who let the DAWs Out? The Digital in a New Generation of the Digital Audio Workstation,” Popular Music and Society, vol. 45, no. 2, pp. 113–128, Mar. 2022, doi: 10.1080/03007766.2021.1972701.

[4] S. McCoid et al., “EarSketch: An integrated approach to teaching introductory computer music,” Organised Sound, vol. 18, no. 2, pp. 146–160, Aug. 2013, doi: 10.1017/S135577181300006X.

[5] H. Weekhout, Music Production. Third edition. | New York, NY : Routledge, 2019.: Routledge, 2019. doi: 10.4324/9780429459504.

[6] K. E. Fajar and Y. Sukmayadi, “Advantages of ‘DAW’ Composing Music for the Effectiveness of Learning the Process of Musical Practice,” in Proceedings of the 3rd International Conference on Arts and Design Education (ICADE 2020), Paris, France: Atlantis Press, 2021. doi: 10.2991/assehr.k.210203.055.

[7] R. B. R. Satya, Y. Sukmayadi, and T. Narawati, “Exploring the interplay of psychoacoustic parameters and microphone selection in soundscape recording: a comprehensive review and practical guide,” Gelar : Jurnal Seni Budaya, vol. 22, no. 1, pp. 59–68, Jun. 2024, doi: 10.33153/glr.v22i1.5833.

[8] B. Owsinski, “The Mastering Engineer’s Handbook Fourth Edition,” 2016. Accessed: Oct. 14, 2023. [Online]. Available: https://www.scribd.com/document/339879651/The-Mastering-Engineers-Handbook-4-the-Dition

[9] H. Boon, “Using DAWs as modelling tools for learning design sound-based applications in education,” Journal of Music, Technology & Education, vol. 13, no. 2, pp. 305–322, Dec. 2020, doi: 10.1386/jmte_00028_1.

[10] J. Zhang, “Music Education and Modern Software: How Using Digital Audio Workstation ( <scp>DAW</scp> ) Software Influences Teaching Academic Singing?,” Eur J Educ, vol. 60, no. 1, Mar. 2025, doi: 10.1111/ejed.12901.

[11] N. Hughes, “Impacts of sequencing existing music using a digital audio workstation on creating original music,” Journal of Popular Music Education, vol. 7, no. 3, pp. 241–267, Sep. 2023, doi: 10.1386/jpme_00125_1.

[12] M. Miller, Idiot’s guides mixing music. 2016.

[13] D. Darso and I. Santiko, “MIDI Controller Design Using Arduino Leonardo as a Digital Audio Workstation (DAW) Management Tool,” Journal of Multimedia Trend and Technology, vol. 3, no. 3, pp. 150–158, Dec. 2024, doi: 10.35671/jmtt.v3i3.77.

[14] G. Pedrini, L. A. Ludovico, and G. Presti, “Evaluating the Accessibility of Digital Audio Workstations for Blind or Visually Impaired People,” in Proceedings of the 4th International Conference on Computer-Human Interaction Research and Applications, SCITEPRESS - Science and Technology Publications, 2020, pp. 225–232. doi: 10.5220/0010167002250232.

[15] Data Transmission Staff, “Logic Pro voted most popular in 2022 survey,” datatransmision.co. Accessed: Jun. 11, 2025. [Online]. Available: https://datatransmission.co/news/logic-pro-voted-most-popular-in-2022-survey/

[16] Futuresource, “Futuresource Streaming Music Market,” Futuresource-Consulting. Accessed: Jun. 11, 2025. [Online]. Available: https://www.futuresource-consulting.com/market-reports/futuresource-streaming-music-market/

[17] J. Rodgers, “2024 DAW User Survey - The Results,” Production Expert. Accessed: Jun. 11, 2025. [Online]. Available: https://www.production-expert.com/production-expert-1/2024-daw-user-survey-the-results

[18] The Business Research Company, “Digital Audio Workstation (DAW) Software Global Market Report 2025,” The Business Research Company. Accessed: Jun. 11, 2025. [Online]. Available: https://www.thebusinessresearchcompany.com/report/digital-audio-workstation-daw-software-global-market-report

[19] ihouseuadmin, “Logic Pro Voted Most Popular DAW of 2022,” iHouseU. Accessed: Jun. 11, 2025. [Online]. Available: https://ihouseu.com/logic-pro-voted-most-popular-daw-of-2022/

[20] Source Forge, “LANDR vs. Logic Pro Comparison Chart,” Source Forge. Accessed: Jun. 11, 2025. [Online]. Available: https://sourceforge.net/software/compare/LANDR-vs-Logic-Pro/

[21] G. English, Logic Pro For Dummies. John Wiley & Sons, 2023.

[22] S. Langford, Digital audio editing: correcting and enhancing audio in Pro Tools, Logic Pro, Cubase, and Studio One. 2013. Accessed: Dec. 19, 2023. [Online]. Available: https://books.google.com/books?hl=en&lr=&id=9achAQAAQBAJ&oi=fnd&pg=PP1&dq=quick+sampler+logic&ots=qgybQu4Qg9&sig=7ibUoa6PgjW6O06bamm0JzyWi7c

[23] D. Nahmani, Logic Pro-Apple Pro Training Series: Professional Music Production. 2022. Accessed: Dec. 19, 2023. [Online]. Available: https://books.google.com/books?hl=en&lr=&id=YNrPEAAAQBAJ&oi=fnd&pg=PP12&dq=quick+sampler+logic&ots=Xp-B7tJ78O&sig=ZjvEBq76iQITGrUk2XYE0viXSIg

[24] D. Nahmani, Logic Pro-Apple Pro Training Series: Professional Music Production. Peachpit Press, 2022.

[25] C. M. Giannantonio, “Book Review: Krippendorff, K. (2004). Content Analysis: An Introduction to Its Methodology (2nd ed.). Thousand Oaks, CA: Sage,” Organ Res Methods, vol. 13, no. 2, pp. 392–394, Apr. 2010, doi: 10.1177/1094428108324513.

[26] I. T. Asfar, “Analisis Naratif, Analisis Konten, dan Analisis Semiotik (Penelitian Kualitatif),” ResearchGate, Jan. 2019, doi: 10.13140/RG.2.2.21963.41767.

[27] J. W. Smith, “The Functions of Continuous Processes in Contemporary Electronic Dance Music,” Music Theory Online, vol. 27, no. 2, Jun. 2021, doi: 10.30535/mto.27.2.7.

[28] Support Apple, “Use Quick Sampler to edit and play single samples in Logic Pro for Mac,” Apple Inc. Accessed: Jun. 11, 2025. [Online]. Available: https://support.apple.com/en-us/102041

[29] H. Hu, Y. Zhou, X. Li, and K. Lei, “Low-Frequency Oscillation in Electric Railway Depot: A Comprehensive Review,” IEEE Trans Power Electron, vol. 36, no. 1, pp. 295–314, Jan. 2021, doi: 10.1109/TPEL.2020.2998702.

[30] N. Rivas, A. R. Thornton, S. Luding, and D. van der Meer, “From the granular Leidenfrost state to buoyancy-driven convection,” Phys Rev E, vol. 91, no. 4, p. 042202, Apr. 2015, doi: 10.1103/PhysRevE.91.042202.

[31] M. N. Kunchur, “The human auditory system and audio,” Applied Acoustics, vol. 211, p. 109507, Aug. 2023, doi: 10.1016/j.apacoust.2023.109507.

[32] Y. Wang, R. Stables, and J. Reiss, “Audio latency measurement for desktop operating systems with onboard soundcards Real-Time Sound Synthesis of Aeroacoustic Sounds using Physically Derived Models View project Perceptual Evaluation of Synthesised Sound Effects View project,” 2010. [Online]. Available: www.aes.org.

[33] E. I. Shirokova and I. B. Shirokov, “Positioning Autonomous Underwater Vehicles at its Moving and Berthing,” in 2023 Radiation and Scattering of Electromagnetic Waves (RSEMW), IEEE, Jun. 2023, pp. 444–447. doi: 10.1109/RSEMW58451.2023.10202151.

[34] D. Chandra, M. J. Tessler, and J. Usher, “Audio spectrum and sound pressure levels vary between pulse oximeters,” Canadian Journal of Anesthesia/Journal canadien d’anesthésie, vol. 53, no. S1, pp. 26–32, Jan. 2006, doi: 10.1007/BF03021524.

[35] B. Liu, B. Zhou, J. Kong, X. Wang, and C. Liu, “The Cut-Off Frequency of High-Pass Filtering of Strong-Motion Records Based on Transfer Learning,” Applied Sciences, vol. 13, no. 3, p. 1500, Jan. 2023, doi: 10.3390/app13031500.

[36] Maung Aye and Tin Tin Hla, “Identification of characteristics for RC Low Pass, High Pass, Band Pass and Band Stop Filters,” The Indonesian Journal of Computer Science, vol. 14, no. 2, Apr. 2025, doi: 10.33022/ijcs.v14i2.4799.

[37] S. Duggal, “Equalisers,” in Record, Mix and Master, Cham: Springer Nature Switzerland, 2024, pp. 133–147. doi: 10.1007/978-3-031-40067-4_11.

[38] Z. Zhang, L. Zeng, T. Xu, C. Zhang, and J. Yu, “A Single-Channel Multifrequency Simultaneous Excitation System Using Bandpass Filter Circuit Modules for Lamb Wave-Based Damage Imaging,” IEEE Trans Instrum Meas, vol. 74, pp. 1–11, 2025, doi: 10.1109/TIM.2025.3557099.

[39] E. Bresch, J. Nielsen, K. Nayak, and S. Narayanan, “Synchronized and noise-robust audio recordings during realtime magnetic resonance imaging scans,” J Acoust Soc Am, vol. 120, no. 4, pp. 1791–1794, Oct. 2006, doi: 10.1121/1.2335423.

[40] C. Laurano, S. Toscani, and M. Zanoni, “A Simple Method for Compensating Harmonic Distortion in Current Transformers: Experimental Validation,” Sensors, vol. 21, no. 9, p. 2907, Apr. 2021, doi: 10.3390/s21092907.

[41] A. P. Bell, Dawn of the DAW: The studio as musical instrument. Oxford University Press, 2018.

[42] I. Davydova and J. R. Franks, “Dawn of the DAW: The Studio as Musical Instrument. By Adam Patrick Bell. New York: Oxford University Press, 2018,” Journal of the Society for American Music, vol. 24, no. 3, pp. 133–159, 2015, Accessed: Jul. 27, 2024. [Online]. Available: https://www.academia.edu/51901421/Dawn_of_the_DAW_The_Studio_as_Musical_Instrument_By_Adam_Patrick_Bell_New_York_Oxford_University_Press_2018


Refbacks

  • There are currently no refbacks.


Copyright (c) 2025 Royys Bagja Rizky Satya, Yudi Sukmayadi, Lanang Riyadi

Creative Commons License
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.

___________________________________________________________
International Journal of Visual and Performing Arts
ISSN 2684-9259
Published by Association for Scientific Computing Electronics and Engineering (ASCEE)
W: http://pubs2.ascee.org/index.php/viperarts
E: sularso@ascee.org
Organized by:

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0

Viperarts Stats